* [2:1–22] This chapter continues to move between the voice of the poet (vv. 1–20) and that of personified Zion (vv. 20–22). The persona of the poet, first portrayed in chap. 1 as a detached observer recounting both the desolation as well as the sins of the city, becomes in this chapter an advocate for Zion in her appeal to the Lord and never once mentions her sins.

* [2:11] My eyes are spent with tears, my stomach churns: the poet appropriates the emotional language used by Zion in 1:16 and 1:20 to express a progressively stronger commitment to her cause. After describing the systematic dismantling of the city in vv. 5–9, the poet turns to the plight of the inhabitants in vv. 10–12. It is the description of children dying in the streets that finally brings about the poet’s emotional breakdown, even as it did for Zion in 1:16.

* [2:13] To what can I compare you…?: the author calls attention to the poetic task: to find language that speaks adequately of the atrocities and incomparable suffering experienced by Zion, and thus to attempt to offer comfort.

* [2:19] The poet urges Zion to appeal to the Lord once more on behalf of her dying children. The image of Zion’s children effectively condenses the metaphorical sense of all residents of the city (young and old alike) into the more poignant picture of actual children at the point of death. It was precisely this image, no doubt well known to survivors of besieged cities, that led to the emotional breakdown of both Zion (1:16) and the poet (2:11). The hope is that the Lord will be similarly affected by such a poignant image and respond with mercy.

* [2:20] Must women eat their own offspring: extreme famine in a besieged city sometimes led to cannibalism; this becomes a stereotypical way of expressing the nearly unthinkable horrors of war; cf. Lam 4:10; Dt 28:53; 2 Kgs 6:28–29; Bar 2:3; Ez 5:10.

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